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musicoviniciusrodrigues · 6 years

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20 casais de Hollywood que você não lembrava que existiram

Relacionamentos são complicados e com as celebridades não é diferente. Enquanto alguns casais de Hollywood permanecem juntos por décadas, como Tom Hanks e Rita Wilson, Will Smith e Jada Pinkett-Smith, e Kevin Bacon e Kyra Sedgwick; outros não tiveram a mesma sorte e acabaram se separando repentinamente. Seus namoros ou casamentos foram cobertos pela mídia e suas fotos estamparam capas de revistas, mas os vícios, as traições ou a distância fizeram com que a felicidade conjugal durasse pouco. A Revista Bula reuniu em uma lista alguns desses casais de famosos que você nem lembrava que existiram.

Madonna e Sean Penn

A cantora e o ator se casaram em 1985 e se separaram quatro anos depois, em 1989. As brigas do casal eram notícia recorrente e Madonna revelou que o maior motivo dos desentendimentos era o ciúme de Sean Penn. Apesar disso, os dois continuam amigos até hoje.

Lisa Marie Presley e Nicolas Cage

A filha de Elvis Presley se casou com o ator Nicolas Cage em 2002, numa cerimônia secreta, no Havaí. A união durou apenas quatro meses e, após o divórcio, Lisa afirmou que o casamento foi um grande erro, pois eles possuíam diferenças inconciliáveis.

Mia Farrow e Frank Sinatra

A atriz se casou com o cantor Frank Sinatra em 1966. Na época, ela tinha 21 anos e ele 50. Dois anos depois, o casal se separou, porque Farrow se recusou a participar de um filme com o marido para atuar no longa “O Bebê de Rosemary”, que a tornou conhecida.

Angelina Jolie e Billy Bob Thornton

Os atores foram casados entre os anos 2000 e 2003. Em uma entrevista recente, Thornton afirmou que a época de seu casamento com Jolie foi a melhor de sua vida e os dois terminaram porque levavam estilos de vida diferentes: “O dela é um estilo de vida global, enquanto eu não gosto de lugares públicos”, disse o ator.

Meryl Streep e John Cazale

O casal se conheceu em 1974, no teatro. Cazale já era um dos maiores atores de Hollywood e Streep ainda não era conhecida. Os dois se davam bem e permaneceram juntos até 1978, quando Cazale foi diagnosticado com câncer e morreu.

Courtney Cox e Michael Keaton

Famosa por interpretar Monica, no seriado “Friends”, Courtney Cox namorou Michael Keaton entre os anos de 1989 e 1995. Após o término, a atriz disse em uma entrevista que Keaton era a pessoa mais incrível que ela já havia conhecido.

Alanis Morissette e Ryan Reynolds

A cantora e o ator começaram a namorar em 2003 e terminaram o relacionamento quatro anos depois. O término não foi fácil para Morissette, que lançou um álbum no ano seguinte, intitulado “Flavors of Entanglement”, com canções que falavam sobre seu processo de superação.

Uma Thurman e Gary Oldman

Os atores se conheceram nos estúdios de gravação do filme “Um Tiro de Misericórdia”, e se casaram em 1990. O casamento durou apenas dois anos e o motivo do fim teria sido o alcoolismo de Oldman, que chegou a ser preso por dirigir bêbado em 1991.

Sarah Jéssica Parker e Robert Downey Jr.

O namoro dos atores durou oito anos, entre 1983 e 1991. Sarah terminou o relacionamento por causa do comportamento de Robert, que era viciado em drogas e álcool. Em 2008, o ator revelou que era muito egoísta e não aceitava a ajuda de Sarah.

Jennifer Esposito e Bradley Cooper

Os dois atores se casaram em 2006 e a união durou apenas cinco meses. Em 2014, Jennifer lançou uma biografia, onde disse que Cooper era manipulador e egoísta. Em uma entrevista, Cooper disse que o relacionamento simplesmente acabou, sem motivo aparente.

Whoopi Goldberg e Frank Langella

Whoopi e Frank se conheceram nos bastidores do filme “Eddie — Ninguém Segura Esta Mulher”, e começaram a namorar em 1996. O relacionamento terminou em 2001 e, de acordo com a atriz, o motivo foi a distância. Whoopi morava em Nova York e Frank em Los Angeles.

Rita Rayworth e Orson Welles

Ao ver uma foto de Rita Hayworth em uma revista, Orson Welles disse que iria se casar com ela. O desejo do cineasta se concretizou e eles se casaram em 1943. Cinco anos depois, o casal se separou, pois Welles estava apaixonado por uma jovem italiana.

Anjelica Huston e Jack Nicholson

Huston e Nicholson se conheceram em uma festa em 1973 e se relacionaram por 17 anos, até 1990, mas não chegaram a se casar. Em sua biografia, a atriz revelou que o namoro chegou ao fim quando Nicholson revelou que tinha engravidado outra mulher.

Geena Davis e Jeff Goldblum

Os atores se conheceram durante as filmagens do filme “A Mosca” e se casaram em 1987. Três anos depois, Davis pediu o divórcio citando diferenças inconciliáveis. Mas, Goldblum afirmou em uma entrevista que os dois continuaram se encontrando por um tempo.

Jeanne Tripplehorn e Ben Stiller

Tripplehorn e Stiller começaram a namorar em 1990. Três anos depois, eles noivaram, mas o relacionamento chegou ao fim em 1996. Os dois chegaram a atuar juntos no programa de comédia “The Bem Stiller Show”.

Isabella Rossellini e Martin Scorsese

Aos 25 anos, Isabella Rossellini foi enviada para entrevistar o cineasta Martin Scorsese. Eles se apaixonaram e poucos meses depois se casaram, em 1979. Durante o casamento, Rossellini manteve um relacionamento com o diretor David Lynch. Em 1983, ela e Scorsese se separaram.

Jessica Lange e Mikhail Baryshnikov

A atriz Jessica Lange teve um breve relacionamento com o bailarino e ator Mikhail Baryshnikov. Os dois se casaram em 1976 e se divorciaram seis anos depois. Eles tiveram uma filha juntos e permanecem amigos até hoje.

Hellen Mirren e Liam Neeson

Os atores se conheceram nos estúdios do filme “Excalibur” e logo começaram a namorar. O relacionamento durou cinco anos, entre 1980 e 1985. Os dois chegaram a morar juntos por um tempo, mas não se casaram.

Valerie Bertinelli e Eddie Van Halen

Bertinelli se casou com o músico Eddie Van Halen em 1981. Eles se separaram 20 anos depois, em 2001. Em sua autobiografia, Bertinelli disse que as principais razões para o divórcio foram o vício em cocaína de Van Halen e sua recusa em parar de fumar, mesmo após ter sido diagnosticado com câncer oral.

Mary Steenburgen e Charlie McDowell

Os atores se conheceram em 1978 e se casaram dois anos depois. Eles tiveram dois filhos e se divorciaram em 1990. De acordo com McDowell, a separação ocorreu de forma amigável, pois os dois perceberam que suas carreiras não permitiam que convivessem como um casal normal.

20 casais de Hollywood que você não lembrava que existiram publicado primeiro em https://www.revistabula.com

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majidalaydeross · 6 years

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vimeo

Lucas Zanotto - Pilot - 100 Years Anniversary from TROUBLEMAKERS.tv on Vimeo.

Making of here vimeo.com/251182749

Mika, Pilot and Troublemakers were made to meet each other and who better than Lucas Zanotto to tell the story of this creative idyll? In this film produced by Troublemakers, the talented director was able to transcribe the colourful world of Mika and the brand that is unique to Pilot's 100th anniversary. A world filled with energy, moose graphics, contrasting colors, unconventional ideas, music that makes you want to dance, and pens that resonate with writing.

Client. Pilot Title. 100 ans Talent. MIKA Brand Manager. Ken Schoellhammer Marketing Operational Manager Europe. Marta Espadas

Agency. Nouveau Monde DDB Art Director. Gilles Pinsonneaux Copy Writer. Bertrand Lepere Creative. Maxime Colin Account Director. Christine Brun Project Manager. Laetitia Armand

Production. TROUBLEMAKERS.tv Director. Lucas Zanotto Executive Producer. James Hagger Production Manager. Benjamin Zorilla Production Coordinator. Felipe Bernard Production Assistant. Rebecca Oxland-Isles Production Assistant. Mathilde Siméon Location Manager. Kim Shewy Location Assistant. Syrielle Monnoyer Location Assistant. Alexandre Luu 1st Assistant Director. Antoine Poulet 2nd Assistant Director. Mélanie Le Portier Director of Photography. Toby Howell 1st Assistant Camera. Olivier Greco 2nd Assistant Camera. Christian Langlois 3rd Assistant Camera. Tristan De La Selle Making Of. Julien Petit Gaffer. Guillaume Pitel Spark. Germain Calvignac Spark. Thomas Migevant Grip. Martin Defossez Art Director. Audrey Malecot Assistant Art Director. Rabeir Ourak Prop Assistant Rebecca. Oxland-Isles Set Builder. Yann Dury Set Builder Assistant. Nelly Cazal Stylist. Yasmine Pennian Stylist. Maria Jesus Stylist. Josiane Blot Hair. Richard Ashforth Hair Assistant. Geraldine Fougerat Make Up. Morgane Quere Photographer. Karel Balas Digital Assistant. John Chevallier Assistant Photographer. Corinna Schulte Editor. Romain Boileau Nuke Compositor. Guillem Ramisa De Sotto Colourist. Muriel Archambaud Assistant Colourist. François Miens 3D Artist. Alexandre Scalvino 3D Artist. Nicolas Dufoure Making Of Editor. Alexis Ghnassia

Talent Manager. Rich Isaacson

Music Mika Remixed by Riback Edit & Mix Music: Kouz

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polluxcrx-blog · 7 years

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reiz21 · 7 years

Video

vimeo

Pilot Pens 100 ans - Lucas Zanotto from TROUBLEMAKERS.tv on Vimeo.

Making of here vimeo.com/251182749

Client. Pilot Title. 100 ans Talent. MIKA Brand Manager. Ken Schoellhammer Marketing Operational Manager Europe. Marta Espadas

Agency. Nouveau Monde DDB Art Director. Gilles Pinsonneaux Copy Writer. Bertrand Lepere Creative. Maxime Colin Account Director. Christine Brun Project Manager. Laetitia Armand

Talent Manager. Rich Isaacson

Music Mika Remixed by Riback Edit & Mix Music: Kouz

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str9led · 7 years

Video

vimeo

Pilot Pens 100 ans - Lucas Zanotto from TROUBLEMAKERS.tv on Vimeo.

Making of here vimeo.com/251182749

Client. Pilot Title. 100 ans Talent. MIKA Brand Manager. Ken Schoellhammer Marketing Operational Manager Europe. Marta Espadas

Agency. Nouveau Monde DDB Art Director. Gilles Pinsonneaux Copy Writer. Bertrand Lepere Creative. Maxime Colin Account Director. Christine Brun Project Manager. Laetitia Armand

Talent Manager. Rich Isaacson

Music Mika Remixed by Riback Edit & Mix Music: Kouz

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liuxiang · 7 years

Video

vimeo

Pilot Pens 100 ans - Lucas Zanotto from TROUBLEMAKERS.tv on Vimeo.

Client. Pilot Title. 100 ans Talent. MIKA Brand Manager. Ken Schoellhammer Marketing Operational Manager Europe. Marta Espadas

Agency. Nouveau Monde DDB Art Director. Gilles Pinsonneaux Copy Writer. Bertrand Lepere Creative. Maxime Colin Account Director. Christine Brun Project Manager. Laetitia Armand

Talent Manager. Rich Isaacson

Music Mika Remixed by Riback Edit & Mix Music: Kouz

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miriadonline · 7 years

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CFP: A holiday from War? 'Resting' behind the lines during the First World War - Sorbonne Nouvelle, June 22 & 23, 2018

A Holiday from War? ‘Resting’ behind the lines during the First World War

Université Paris III – Sorbonne Nouvelle

June 22 & 23, 2018

Maison de la Recherche

Organised by Sarah Montin (EA PRISMES) et Clémentine Tholas-Disset (EA CREW)

Confirmed Keynote Speaker: Tim Kendall (University of Exeter)

His men threw the discus and the javelin, and practiced archery on the shore, and their horses, un-harnessed, munched idly on cress and parsley from the marsh, the covered chariots housed in their masters¹ huts. Longing for their warlike leader, his warriors roamed their camp, out of the fight. (lliad, Book II)

What do the soldiers do when they are not on the battlefield? The broadening of the definition of war experience in recent historiography has transformed our spatial and temporal understanding of the conflict, shifting the scope away from the front lines and the activities of combat. Beyond the battlefield and its traditional martial associations emerges another representation of the warrior and the soldier, along with another experience of the war.

Situated a few kilometres behind the front lines, the rear area is the space where soldiers rotated after several days burrowed at the front or in reserve lines, surfacing from the trenches to join rest stations, training installations, ammunition and food supply depots, hospitals, brothels, command headquarters or soldiers¹ shelters. In that space in-between which is neither the site of combat nor that of civilian life, the soldiers were less exposed to danger and followed a barracks routine enlivened by relaxing activities which aimed to restore morale. If some soldiers found there a form of rest far from the fury of the guns, others suffered from the encroaching discipline, the imposition of training orthe promiscuity with soldiers that were no longer brothers-in-arms in thas buffer zone where they spent 3/5ths of their time. Both a place of abandonment and a place of control, the rear area merges at times with the civilian world as it occupies farms and villages and hosts non-combatants such as doctors, nurses or volunteers. With battles being waged close by, the ³back of the front² (Paul Cazin) is a meeting place for soldiers of different armies and allied countries, as well as for officers and privates, soldiers and civilians, men and women, foreign troops and locals living in occupied zones. The rear area is not only a spatial concept but also a temporal one: it is a moment of reprieve, of passing forgetfulness and illusive freedom; a moment of ³liberated time² Thierry Hardier and Jean-François Jagielski) indicating a period of relative rest between combat and leave, a short-lived respite before returning to the front. If the combatant is entitled to repose and time to himself, military regulations demand that he never cease to be a soldier. As such we have to consider these moments of relaxation within the strict frame of military life at the front and the role played by civilian organizations such as the YMCA or the Salvation Army, who managed the shelters for soldiers on the Western Front.

Though seemingly incompatible with war experience, certain recreational activities specific to civilian life make their way to the rear area with the approval of military command. Moments of relaxation and leisure are encouraged in order to maintain or restore the soldier¹s physical and emotional well-being, thus sustaining the war effort. They also ensure that the soldier is not entirely cut off from ³normal² life and bring comfort to those who are not granted leave. Liberated time is not free time, just as periods without war are not periods of peace. These ³holidays from war² are not wholly synonymous with rest as the men are almost constantly occupied (review, training exercises, instruction) in order to fight idleness and ensure the soldiers stay fit for duty. The rear is thus also a place of heightened collective practises such as sports, hunting and fishing, walking, bathing, discussions, creation of trench journals, film projections, concert parties, theatre productions, religious services as well as individual activities such as reading, writing and artistic creation.

Between communion with the group and meditative isolation, experiences vary from one soldier to another, depending on social origins, level of education and rank, all of which take on a new meaning at the rear where the egalitarian spirit fostered during combat is often put to the test. Sociability differs in periods of fighting and periods of recovery, and is not always considered positively by the soldiers. However, despite the tensions induced by life at the rear, these ³holidays from war² and spells of idleness are often represented as idyllic ³pastoral moments² (Paul Fussell) in the visual and written productions of the combatants. The enchanted interlude sandwiched between two bouts of war becomes thus a literary and artistic trope, evoking, by contrast, a fleeting yet exhilarating return to life, innocence and harmony, a rediscovery of the pleasures of the body following its alienation and humiliation during combat.

In order to further our understanding of the historical, political and aesthetic concerns of life at the rear, long considered a parenthesis in the experience of war, this interdisciplinary conference will address, but will not be limited to, the following themes:

The ideological, medical and administrative construction of the notion of ‘rest’ in the First World War (as it applied to combatants but also auxiliary corps and personnel). Paramilitary, recreational and artistic activities at the rear; the organisation of activities in particular leisure and entertainment, the role of the army and independent contractors (civilian organisations, etc.) Sociability between soldiers (hierarchy, tensions, camaraderie); the rear area as meeting place with the other (between soldiers/auxiliary personnel, combatants, locals, men/women, foreign troops, etc.), site of passage, exploration, initiation or ³return to the norm² (³rest huts² built to offer a ³home away from home²), testimonies from inhabitants of the occupied zones Articulations and dissonances between community life and time to oneself, collective experience and individual experience The historic and artistic conceptualisation of the rear area, specific artistic and literary modes at the rear by contrast with writings at the front Staging life at the rear: scenes of country-life, idyllic representations of non-combat as farniente or hellscapes, bathing parties or penitentiary universes, the figure of the soldier as dilettante, flâneur and solitary rambler, in the productions (memoirs, accounts, correspondence, novels, poetry, visual arts, etc.) of combatants and non-combatants; Cultural, political and media (re)construction of the figure of the ³soldier at rest² (war photography, postcards, songs, etc.); representations of the male and female body at rest, constructions of a new model of masculinity (sexuality and sport), and their place in war production.

In order to foster dialogue between the Anglophone, Francophone and Germanophone areas of study, the conference will mainly focus on the Western Front. However proposals dealing with other fronts will be examined. Presentations will preferably be in English.

Please send a 250-word proposal and a short bio before November 20, 2017 to : [email protected] and [email protected] Notification of decision: December 15th 2017

Proposals will be reviewed by the Conference scientific committee: Jacub Kazecki (Bates College) Jennifer Kilgore-Caradec (Université de Caen) Catherine Lanone (Université Sorbonne-Nouvelle) Mark Meigs (Université Paris Diderot) Sarah Montin (Université Sorbonne-Nouvelle) John Mullen (Université de Rouen) Karen Randell (Nottingham Trent University) Serge Ricard (Université Sorbonne-Nouvelle) Clémentine Tholas-Disset (Université Sorbonne-Nouvelle)

Bibliography

AUDOUIN ROUZEAU, Stéphane & Jean-Jacques Becker (ed.) Encyclopédie de la Grande Guerre 1914-1918, Paris: Perrin, 2012 (Bayard, 2004). BOURKE, Joanna, Dismembering the Male: Men’s Bodies, Britain and the Great War, London: Reaktion Books, 1996. CAZALS, Rémy et André Loez, 14-18. Vivre et mourir dans les tranchées, Paris: Tallandier, 2012. COCHET, François La Grande Guerre: Fin d’un monde, début d’un siècle, Paris: Perrin, 2004. DAS, Santanu, Race, Empire and First World War Writing, Cambridge: Cambridge University Press, 2011. DAS, Santanu, Touch and Intimacy in First World War Literature, Cambridge: Cambridge University Press, 2005. FULLER, J. G. Troop Morale and Popular Culture in the British and Dominion Armies, 1914-1918, London : Clarendon Press, 1990. FUSSELL, Paul, The Great War and Modern Memory, Oxford: Oxford University Press, 1975. HARDIER, Thierry & Jean-François Jagielski, Oublier l’apocalypse ? Loisirs et distractions des combattants pendant la Grande Guerre, Paris: Imago, 2014. HARTER, Hélène, Les Etats-Unis dans la Grande Guerre, Paris: Tallandier, 2017. LAFON, Alexandre, La Camaraderie au front, 1914-1918, Paris: Armand Colin, 2014. MAROT, Nicolas, Tous Unis dans la tranchée? 1914-1918, les intellectuels rencontrent le peuple, Paris: Seuil, 2013. MEIGS, Mark, Optimism at Armageddon: Voices of American Participants in the First World War, New York: Palgrave Macmillan, 1997. REZNICK, Jeffrey, Healing the Nation: Soldiers and the Culture of Caregiving in Britain during the First World War, Manchester : Manchester University Press, 2004. SMITH, Angela K. & Krista Cowman (ed.), Landscapes and Voices of the Great War, New York: Routledge, 2017. TERRER Thierry & J.A. Magan (ed.), Sport, Militarism and the Great War: Martial Manliness and Armageddon, New York: Routledge, 2012. THOLAS DISSET, Clémentine & Karen Ritzenhoff (ed.), Humor, Entertainment and Popular Culture during World War One, New York: Palgrave MacMillan, 2015. WINTER, Jay (ed.), The Cambridge History of the First World War, Cambridge: Cambridge University Press, 2013

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